I’ve never known what this word means. Meme? And is that pronounced like mem or meem or maymay or meemee. I’ve just never bothered to find out. But, that’s what the blogging kids are calling this little ditty:
The 12 Movies Meme
So apparently someone thought that it would be a really good idea to give that stripped Diablo Cody a chance to program 12 days at a theatre in LA. If I were Diablo Cody I would probably spend more time strippin’ and making phat money. But since I’m not, this is how I would program 12 movies. They’re all double features that would play two days in a row:
Invaders from Mars (William Cameron Menzies, 1953) and Colossus the Forbin Project (Joseph Sargent, 1970).
I’m telling you mother fuckers, that movie is awesome. And so is the non-Tobe Hooper version of the first movie. B-Sci-Fi gold. This will get people really pumped, even at the beginning of the week.
The Brood (David Cronenberg, 1979) and Rosemary’s Baby (Roman Polanski, 1968).
Double feature highlighting the disgusting and horrific nature of child birth.
All the Real Girls (David Gordon Green, 2003).
I think this movie has the potential for seeming so hip that the really hip people try to avoid it. But assuming I’m in Diablo Cody’s position and can program 12 movies, I would use my hip-fluence (copyright 2008 ) to get people to watch this one. Especially on date night. This is one of the most romantic films of recent years in an anti-sappy and yet sentimental way.
Harakiri (Masaki Kobayashi, 1962)
People need something to pump them up on a Saturday night. The great thing about a movie like this is how many people will avoid a black-and-white Japanese movie, and how the people who don’t avoid it will find a dude cutting out his innards with a bamboo sword!
Tender Mercies (Bruce Beresford, 1983) and Badlands (Terence Malick, 1973).
Both written by folks who love the middle, these films have heightened my sense of spirituality with each viewing. Since Sunday has historically been my Sabbath of choice, I feel like this would be an appropriate matinee that people should go to instead of church.
Stroszek (Werner Herzog, 1977).
Another movie about the middle. Stroszek is a Herzog film that doesn’t get that much attention, but I think those that venture to this showing will find one of his most honest and haunting works.
Through a Glass Darkly (Ingmar Bergman, 1961) and Ordet (Carl Theodor Dreyer, 1955).
Another religious double feature. Here are two vastly important films by vastly important directors.
An Angel at My Table (Jane Campion, 1990).
Alright. So this one takes some staying power. But it’s worth it, I promise. Another most amazing film that gets a little overlooked when studying the careers of famous directors. This has all the elements of a Jane Campion film: female sexuality, female trials, female peeing. Only this time it’s made for TV and focuses on the New Zealander writer Janet Frame. The film is as beautiful and sweet as her writing and a great way to end this series.
I’m supposed to tag five other people:
Brian needs to do it. That counts as one person.
My smartest film friend Trevor who writes for Toward an LDS Cinema.
Jacob at the The Fortnightly.
Gavin at Fight TV.
Aaron at Look Out President Clinton!
Most people who write for strictly film blogs have done this already. Plus I think it would be way cool to see what my friends would choose.